Gilmore Global Monthly SEO Report May 04 2020 to June 02 2020

Total Page:16

File Type:pdf, Size:1020Kb

Gilmore Global Monthly SEO Report May 04 2020 to June 02 2020 Gilmore Global Monthly SEO Report May 04 2020 to June 02 2020 Gilmore Global https://www.gilmoreglobal.com Gilmore Global May 04 2020 to June 02 2020 Table of Contents SEO Overview 3 Rankings 4 Google Analytics - Organic Search 10 Google Analytics - All Channels 12 Page 2 / 12 Gilmore Global May 04 2020 to June 02 2020 SEO Overview 2,789 0 167 12 Sessions GA Goal Completions (Organic) Google Change Google Rankings 9% 0% 15% 50% Sessions Google Change 2,789 9% 167 15% 200 200 150 150 100 100 50 50 0 May 4 May 11 May 18 May 25 Jun 1 May 4 May 11 May 18 May 25 Jun 1 Page 3 / 12 Gilmore Global May 04 2020 to June 02 2020 Rankings Google Change 167 15% 200 150 100 50 0 May 4 May 6 May 8 May 10 May 12 May 14 May 16 May 18 May 20 May 22 May 24 May 26 May 28 May 30 Jun 1 50% 15% 18% 121% 12 167 9 19 Google Rankings Google Change Bing Bing Change Showing 171 of 171 Rows KEYWORD GOOGLE GOOGLE CHANGE BING BING CHANGE global revenue operations 8th 2 1st global channel program 15th 15 digital content delivery solutions 21st 30 1st revenue operation 29th 7 22nd 5 channel engagement 29th 13 14th 12 training content delivery 49th 24 content delivery strategy 58th 42 global revenue management 63rd 37 16th 9 digital content production 64th 36 revenue operations 71st 28 37th 10 content production 71st 29 23rd 2 digital delivery company 86th 14 digital distribution system content production process content distribution strategies revenue operations framework Page 4 / 12 Gilmore Global May 04 2020 to June 02 2020 KEYWORD GOOGLE GOOGLE CHANGE BING BING CHANGE supply logistics solutions online distribution channels business management supply chain content management system company supply chain management companies video digital distribution content distribution platforms revenue management concept content distribution definition company content management sales supply chain management digital content delivery platform 2nd digital distribution industry top supply chain software companies content production companies top supply chain companies 2018 content management companies revenue strategy and operations what is digital distribution the digital delivery network supply chain management firm online distribution channel revenue management and pricing strategies in the hotel industry digital distribution systems hotel revenue management strategies what is content distribution? content manager revenue management and pricing innovative supply chain companies supply chain solution Page 5 / 12 Gilmore Global May 04 2020 to June 02 2020 KEYWORD GOOGLE GOOGLE CHANGE BING BING CHANGE digital service delivery price and revenue management distribution platforms definition digital media distribution services digital content distribution company supply chain company best supply chain companies revenue management services pricing and revenue optimization content distribution company digital content distribution companies content distribution companies revenue management processes content distribution platform supply chain management services what is digital distribution channel? revenue management industry global processing services revenue digital delivery digital distribution service content distribution digital delivery framework digital media production company digital production revenue management company revenue management concepts content distribution strategy content deployment digital distribution channel content management company content publication digital content delivery platforms Page 6 / 12 Gilmore Global May 04 2020 to June 02 2020 KEYWORD GOOGLE GOOGLE CHANGE BING BING CHANGE supply chain management businesses content production company global supply chain company supply chain companies digital delivery services advantages of digital distribution top supply chain companies business and supply chain management digital product delivery what is a digital distribution? pricing & revenue management digital distribution services revenue management in service marketing content distribution management content distribution services content production jobs global supply chain top supply chain companies in world business supply chain management content production agency what is content distribution digital delivery network digital content distribution content distribution channels revenue management process multimedia content management revenue management revenue management companies for hotels content delivery network companies supply chain management company supply chain management of a company distributed content management Page 7 / 12 Gilmore Global May 04 2020 to June 02 2020 KEYWORD GOOGLE GOOGLE CHANGE BING BING CHANGE supply chain company names supply chain management companies in canada digital distribution solutions digital distribution business digital content distribution services content management business pricing and revenue management network revenue management global level supply chain management companies list supply chain service providers digital file delivery supply chain management services company content publishing digital distribution network supply chain management firms supply chain service content management corporation digital content distribution platforms online content production 23rd 5 content distribution channel digital distribution channels digital distribution companies top supply chain companies 2019 content production system content management system services online distribution channels definition what is a digital distribution channel? digital media delivery service content production industry digital delivery platforms what are digital services? Page 8 / 12 Gilmore Global May 04 2020 to June 02 2020 KEYWORD GOOGLE GOOGLE CHANGE BING BING CHANGE digital media distribution networks content management digital distribution business channel print on demand print on demand canada best print on demand canada print on demand books canada print on demand fulfillment fulfillment content delivery network training global content delivery network market fulfillment business print on demand business content delivery platforms content delivery system content delivery content distribution network top content delivery networks content delivery service adaptive learning content delivery networks print on demand books content network network delivery systems content delivery platform software content delivery network top content delivery companies content delivery platform content creation and distribution Page 9 / 12 Gilmore Global May 04 2020 to June 02 2020 Google Analytics - Organic Search Sessions 836 9% 60 google - 760 bing - 58 40 yahoo - 10 836 duckduckgo - 5 Sessions seznam - 1 20 baidu - 1 ask - 1 May 4 May 11 May 18 May 25 Jun 1 836 2.50 00:01:30 79.43% 59.33% 0 Sessions Pages/Session Avg. Session Duration % New Sessions Bounce Rate Goal Completions 9% 21% 5% 3% 1% 0% Showing 29 of 29 Rows AVG. SESSION KEYWORD SESSIONS PAGES/SESSION % NEW SESSIONS BOUNCE RATE GOAL COMPLETIONS DURATION (not provided) 781 2.51 00:01:29 78.75% 59.41% 0 gilmore global 14 2.86 00:01:07 92.86% 64.29% 0 (not set) 6 1.33 00:00:15 100.00% 66.67% 0 amazon 3 1.00 00:00:00 100.00% 100.00% 0 gilmore global canada 3 3.67 00:16:46 33.33% 0.00% 0 GILMORE GLOBAL 2 8.00 00:02:46 100.00% 0.00% 0 Gilmore Global 2 1.50 00:00:04 100.00% 50.00% 0 evantage.gilmoreglobal.com login 2 2.50 00:01:03 50.00% 50.00% 0 gilmore glabal instruments 2 4.50 00:01:47 50.00% 50.00% 0 gilmoreglobal 2 1.50 00:05:09 100.00% 50.00% 0 .gilmoreglobal 1 1.00 00:00:00 100.00% 100.00% 0 GILMOREGLOBAL 1 4.00 00:01:11 100.00% 0.00% 0 Gilmore Global US 1 1.00 00:00:00 100.00% 100.00% 0 Gilmore global 1 2.00 00:00:16 100.00% 0.00% 0 digital content delivery 1 1.00 00:00:00 100.00% 100.00% 0 gilmore global kanata building 1 1.00 00:00:00 100.00% 100.00% 0 gilmore global login 1 1.00 00:00:00 100.00% 100.00% 0 Page 10 / 12 Gilmore Global May 04 2020 to June 02 2020 AVG. SESSION KEYWORD SESSIONS PAGES/SESSION % NEW SESSIONS BOUNCE RATE GOAL COMPLETIONS DURATION gilmore global logistics 1 6.00 00:01:55 100.00% 0.00% 0 gilmore global logistics service 1 3.00 00:00:49 100.00% 0.00% 0 gilmore global logistics services 1 2.00 00:00:27 100.00% 0.00% 0 gilmore global morrisvill 1 1.00 00:00:00 100.00% 100.00% 0 gilmore global texas 1 1.00 00:00:00 100.00% 100.00% 0 gilmore global us 1 2.00 00:00:10 100.00% 0.00% 0 gilmore gloval 1 1.00 00:00:00 0.00% 100.00% 0 gilmore logistics 1 1.00 00:00:00 100.00% 100.00% 0 glimore global logistic 1 1.00 00:00:00 100.00% 100.00% 0 http://gilmore-global.com/ 1 1.00 00:00:00 100.00% 100.00% 0 https//evantage.gilmoreglobal.com 1 1.00 00:00:00 100.00% 100.00% 0 www.gilmoreglobal.com 1 2.00 00:00:56 100.00% 0.00% 0 Page 11 / 12 Gilmore Global May 04 2020 to June 02 2020 Google Analytics - All Channels Sessions 2,789 9% 200 150 Direct - 1,330 2,789 Organic Search - 836 100 Sessions Referral - 575 Social - 48 50 May 4 May 11 May 18 May 25 Jun 1 2,789 1.73 00:00:57 85.98% 73.50% 0 Sessions Pages/Session Avg. Session Duration % New Sessions Bounce Rate Goal Completions 9% 2% 0% 0% 2% 0% Showing 4 of 4 Rows AVG. SESSION CHANNEL SESSIONS PAGES/SESSION % NEW SESSIONS BOUNCE RATE GOAL COMPLETIONS DURATION Direct 1,330 1.39 00:00:34 90.30% 79.62% 0 Organic Search 836 2.50 00:01:30 79.43% 59.33% 0 Referral 575 1.44 00:01:00 86.96% 79.48% 0 Social 48 1.38 00:01:25 68.75% 79.17% 0 Page 12 / 12.
Recommended publications
  • Digital Distribution
    HOW DIGITAL DISTRIBUTION AND EVALUATION IS IMPACTING PUBLIC SERVICE ADVERTISING Aggressive Promotion Yields Significant Results By Bill Goodwill & James Baumann It is no surprise to see that digital distribution of all media products is fast becoming the de facto standard for distribution of media content, particularly for shorter videos such as PSA messages. First let’s define the terms. Digital distribution (also called digital content delivery, online distribution, or electronic distribution), is the delivery of media content online, thus bypassing physical distribution methods, such as video tapes, CDs and DVDs. In additional to saving money on tapes and disks, digital distribution eliminates the need to print collateral materials such as storyboards, newsletters, bounce-back cards, etc. Finally, it provides the opportunity to preview messages online, and offers media high- quality files for download. The “Pull” Distribution Model In the pre-digital world, the media was spoiled because they had all the PSA messages they could ever use delivered right to their desktop, along with promotional materials explaining the importance of the campaigns. Today, the standard way for stations to get PSAs in the digital world is to go to a site created by the digital distribution company and download them from the “cloud.” Using a dashboard that has been created for PSAs, the media can preview the spots and download both the PSAs, as well as digital collateral materials such as storyboards, a newsletter and traffic instructions. This schematic shows the overall process flow for digital distribution. To provide more control over digital distribution, Goodwill Communications has its own digital distribution download site called PSA Digital™, and to see how we handle both TV and radio digital files, go to: http://www.goodwillcommunications.com/PSADigital.aspx.
    [Show full text]
  • The Effects of Digital Music Distribution" (2012)
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon.
    [Show full text]
  • Apple / Shazam Merger Procedure Regulation (Ec)
    EUROPEAN COMMISSION DG Competition CASE M.8788 – APPLE / SHAZAM (Only the English text is authentic) MERGER PROCEDURE REGULATION (EC) 139/2004 Article 8(1) Regulation (EC) 139/2004 Date: 06/09/2018 This text is made available for information purposes only. A summary of this decision is published in all EU languages in the Official Journal of the European Union. Parts of this text have been edited to ensure that confidential information is not disclosed; those parts are enclosed in square brackets. EUROPEAN COMMISSION Brussels, 6.9.2018 C(2018) 5748 final COMMISSION DECISION of 6.9.2018 declaring a concentration to be compatible with the internal market and the EEA Agreement (Case M.8788 – Apple/Shazam) (Only the English version is authentic) TABLE OF CONTENTS 1. Introduction .................................................................................................................. 6 2. The Parties and the Transaction ................................................................................... 6 3. Jurisdiction of the Commission .................................................................................... 7 4. The procedure ............................................................................................................... 8 5. The investigation .......................................................................................................... 8 6. Overview of the digital music industry ........................................................................ 9 6.1. The digital music distribution value
    [Show full text]
  • The Obstacles of Streaming Digital Media and the Future of Transnational Licensing Jasmine A
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UC Hastings Scholarship Repository (University of California, Hastings College of the Law) Hastings Communications and Entertainment Law Journal Volume 36 | Number 1 Article 7 1-1-2014 Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing Jasmine A. Braxton Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Jasmine A. Braxton, Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing, 36 Hastings Comm. & Ent. L.J. 193 (2014). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol36/iss1/7 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Lost in Translation: The Obstacles of Streaming Digital Media and the Future of Transnational Licensing by JASMINE A. BRAXTON* I. Introduction ......................................................................................................................... 193 II. Background: The Current State of Copyright Law for
    [Show full text]
  • A Framework of Guidance for Building Good Digital Collections
    A Framework of Guidance for Building Good Digital Collections 3rd edition December 2007 A NISO Recommended Practice Prepared by the NISO Framework Working Group with support from the Institute of Museum and Library Services About NISO Recommended Practices A NISO Recommended Practice is a recommended "best practice" or "guideline" for methods, materials, or practices in order to give guidance to the user. Such documents usually represent a leading edge, exceptional model, or proven industry practice. All elements of Recommended Practices are discretionary and may be used as stated or modified by the user to meet specific needs. This recommended practice may be revised or withdrawn at any time. For current information on the status of this publication contact the NISO office or visit the NISO website (www.niso.org). Published by National Information Standards Organization (NISO) One North Charles Street, Suite 1905 Baltimore, MD 21201 www.niso.org Copyright © 2007 by the National Information Standards Organization All rights reserved under International and Pan-American Copyright Conventions. For noncommercial purposes only, this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the publisher, provided it is reproduced accurately, the source of the material is identified, and the NISO copyright status is acknowledged. All inquires regarding translations into other languages or commercial reproduction or distribution should be addressed to: NISO, One North Charles Street, Suite
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Distribution 2020: Situational Analysis
    pwc.com.au Distribution 2020: Situational Analysis Tourism Australia Distribution in Australia’s international markets: Situational Analysis March 2013 Final Report Key Findings There is no one agreed definition of ‘tourism distribution’ across both industry participants and government bodies. Some viewed the term ‘distribution’ to be the interaction of customers with travel agents and other traditional intermediary, or third party channels. In this context, communicating directly with customer was thought of as ‘marketing’ activity. The other view was that distribution encompasses any action or channel that connects customers with tourist products, be it through direct communication or through third parties. While the general idea of linking a customer through to a travel and tourism product is a consistent theme across both these views, we have adopted the broader all-encompassing definition, as this better aligns with changes in how consumers are purchasing travel products, and how industry has responded to these changes. In this study we are seeking to: understand the relevance of different tourism distribution approaches now and in the future across Australia’s key holiday markets. review the current structure and activities of Tourism Australia and state tourism organisations (STOs). While specific data across sources is fragmented and hence clouds the view of the future, the key findings of our initial review, consumer survey and stakeholder interviews are: There is a clear trend towards a greater role of online sources for identifying Australia as a holiday destination, and then planning, booking and subsequently sharing holiday experiences. Indeed, the identification of Australia as a destination, and the planning of a holiday, increasingly is undertaken online.
    [Show full text]
  • Cd Projekt Capital Group Activities Between 1 January and 30 June 2018 2
    MANAGEMENT BOARD REPORT ON CD PROJEKT CAPITAL GROUP ACTIVITIES BETWEEN 1 JANUARY AND 30 JUNE 2018 2 Disclaimers This English language translation has been prepared solely for the convenience of English speaking readers. Despite all the efforts devoted to this translation, certain discrepancies, omissions or approximations may exist. In case of any differences between the Polish and the English versions, the Polish version shall prevail. CD PROJEKT, its representatives and employ- ees decline all responsibility in this regard. Management Board report on CD PROJEKT Capital Group activities for the period between 1 January and 30 June 2018 (all figures quoted in PLN thousands unless stated otherwise) 3 Table of contents 9 Brief description of the CD PROJEKT Capital Group 10 Activity profile 20 Growth prospects of the CD PROJEKT Capital Group 22 CD PROJEKT S.A. on the capital market 24 CD PROJEKT Capital Group activity profile 25 Organizational structure of the CD PROJEKT Capital Group 27 Disclosure of business segments, products, services, outlets, suppliers and customers 37 Description of external and internal factors affecting the CD PROJEKT Capital Group 39 Disclosure of significant agreements 40 Risk management at the Capital Group 41 Financial results of the CD PROJEKT Group 42 Overview of key economic and financial indicators disclosed in the consolidated and separate financial statement 60 Corporate governance 61 Entity contracted to audit financial statements 61 Shareholders controlling at least 5% of the vote at the General Meeting 62 Agreements which may result in changes in the proportions of shares held by shareholders and bondholders 62 Information regarding the purchase of own shares 63 Company shares held by members of the Management Board and the Supervisory Board 64 Composition of the Management Board of CD PROJEKT S.A.
    [Show full text]
  • House Judiciary Committee Subcommittee Committee Hearing: Online Platforms and Market Power Part 2: Innovation and Entrepreneurship 1
    Question for the Record Rep. W. Gregory Steube (FL-17) House Judiciary Committee Subcommittee Committee Hearing: Online Platforms and Market Power Part 2: Innovation and Entrepreneurship 1. Mr. Andeer, as I understand it Apple charges apps that provide digital content 30% with each transaction. If the app has to pass that cost onto consumers, are they able to tell consumers they can receive that service elsewhere like going to their website? We believe competition makes everything better and results in the best apps for our customers. We also care about quality over quantity, and trust over transactions. Our users trust Apple—and that trust is critical to how we operate a fair, competitive store for developer app distribution. Like any fair marketplace, developers decide what they want to charge. We only collect a commission from developers when a digital good or service is delivered through an app. As noted during the testimony, approximately 84% of apps obtained through the App Store share no revenue with Apple. Developers also receive free marketing opportunities through our store design, including the new Today editorial feature, personalized recommendations, search tools, top lists and social marketing. All this helps to support the millions of successful apps on the App Store. Outside of the App Store, developers communicate with their consumers in a variety of ways, and that is completely up to them. Developers can inform their customers where to purchase digital content from the developer, such as on the developer’s website, on social media or through advertising. App developers frequently use websites, social media and traditional (TV, radio, print) marketing, email ads and targeted ads, and referrals and partnerships with other businesses to promote purchasing through channels not related to the App Store.
    [Show full text]
  • 30789 18 Baskerville 9E.Pdf
    CHAPTER18 The Digital Age or nearly a century the modern music industry was forged by two then-new F technologies—the phonograph record and broadcasting. In the late 20th century, a third “The future is here. force—digital technology—emerged to shake the industry’s foundations. Digital technology It’s just not widely radically altered not only the business of music but also its creation, manufacture, and distribu- distributed yet.” tion. Furthermore, it changed the very culture of how music is created, with inexpensive tech- —William Gibson nologies to record, present, distribute, promote, and play music, fashioning a unique artistic and commercial digital democracy, which drew mu- sic artist and music consumer closer even as it blurred the boundary between them. Digital’s power was most graphically illustrated in the arena of distribution. The unauthorized digital distribution of music via peer-to-peer (P2P) networks like Napster and Grokster was often cited as the primary force behind the music industry sales slump that began in 2001. Ironically, although these P2P networks also presented a method for legitimate digital distribution via the Internet, record labels, which had reaped a fortune from the sales of CDs for two decades, perceived digital distribution as a threat rather than an opportunity. When Philips and Sony collaborated on the development of the compact disc (CD) in the early 1980s, no one could have predicted the extent to which digital technology, in combination with the Internet (which was still gestating at the time), would revolutionize the music industry. Left: Steve Jobs unveils Apple’s iPod Mini, 2004.
    [Show full text]
  • Mobile Reputation System and Its Effect on Mobile App
    Jin and Zheng Mobile Reputation Systems and Its Effect on Mobile MOBILE REPUTATION SYSTEM AND ITS EFFECT ON MOBILE APP PURCHASES Leigh Jin Weijun Zheng San Francisco State University University of Wisconsin-Parkside [email protected] [email protected] ABSTRACT Apple Appstore and Google Android Market1 are digital distribution platforms that provide users a central location to effectively browse, purchase, download and update their mobile applications. They play a critical role in driving mobile app adoption and usage. However, there are about 600,000 mobile apps currently available in Apple Appstore, and over 450,000 apps in Google Android Market, choosing the right collection of apps to suit their individual needs can be quite daunting for smartphone users. In a mobile environment, reputation systems embedded in application stores may play a critical role in influencing app consumption. This paper intends to examine the importance of mobile reputation systems in app discovery and purchases. After reviewing literature on reputation systems and its application in mobile setting, a survey of student mobile app users for their preferences in app discovery and purchases is presented. The preliminary findings of our survey suggest that mobile reputation systems embedded in application stores play important roles in various stages of app purchase decision making process. Additional data collection and analysis are planned in the next phase of our research. Keywords: Mobile Reputation Systems, Mobile Apps INTRODUCTION According to a recent survey conducted by the Pew Research Center’s Internet & American Life Project, nearly half (46%) of American adults are smartphone2 owners, and 2012 marks the first time that smartphone users outnumber traditional mobile phone users within the overall adult population in US (Smith, 2012).
    [Show full text]
  • Three Case Studies on Mp3.Com, Napster and Kazaa
    University of Wollongong Research Online Faculty of Engineering & Information Sciences - Honours Theses University of Wollongong Thesis Collections 25-10-2004 Digital distribution music services and the demise of the traditional music industry: three case studies on mp3.com, Napster and Kazaa K. Alves University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/thesesinfo University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Alves, K., "Digital distribution music services and the demise of the traditional music industry: three case studies on mp3.com, Napster and Kazaa" (2004).
    [Show full text]